Let me take an opposing viewpoint on this. A lot of people are comparing this to Tim Hecker or Fennesz. The Tim Hecker reference comes from his use of warm, fuzzy drones. But unlike his stuff, there’s no sterile editing to perfection. Imperfections in the music (like at the end of “Breech on the Bowstring”) are kept in, rather than edited out. Fennesz makes a bit more sense, but again, he’s fonder of cleaner edits without the muck these guys roll around in. So neither one of these really describe what is going on.
A guitar leads each one of these songs, giving a sort of structure to the often chaotic drones explored. If I had to pick someone similar, I might choose Janek Schaefer. Like him, they kept a lot of the sounds pretty open, often deftly dealing with the edits. This has an analog heart, not the digital one possessed by Tim Hecker or Fennesz. You can feel it, grasp it, and hug it. It is the sound of pure life.
Using a guitar makes the songs feel that much more alive. Hardy any percussion exists on the album, “And They Think My Name is Dequan” being the exception to the rule. After this track we get the most abrasive one the obnoxiously titled: “Get out of the Obese Crowd”.
Most of the material on here owes some sort of debt to shoegaze. The rhythms are slow, often melodic, and surprisingly catchy. And if I had to pick what might be a single “Makes Sense to Me” would be the easy pick. By bringing in mellow guitar to plod along the drones makes them that much better.
So if someone says this is like one of the first two, take exception. The editing on here isn’t that meticulous, the cuts are rawer and more visceral than that. You’re better off for it.